122 LAST PAGE
...More than 50% of all professional
applications are white light so white light LED is the highest priority for Elation.
HARRY DE LON ELATION’S THEATRICAL / TOURING LIGHTING SPECIALIST
How did you fi rst get into the lighting industry? As a student I worked part time, then later full time, as an electrician at the Bavarian State Opera in Germany - one of the biggest repertoire theatres in Europe - this was my fi rst introduction to the industry.
You’ve worked for a number of major lighting brands, what lead you to your latest role at Elation? I was looking for innovative and modern companies in the lighting business and the combination of fast reaction to the needs of the market, innovation, the understanding of global structures and most importantly, the fast and fl exible manufacturing resources worldwide, attracted me to Elation.
How important are white light LED products in the Elation range? More than 50% of all professional applications are white light applications so white light LED is the highest priority for Elation. There are thousands of venues using old technology that has to be replaced step by step. From my point of view replacing tungsten and dimmers in theatres, congress centres, schools and museums with LED lights is one of our biggest tasks.
How are cool white, neutral white and warm white LEDs used differently within applications? Warm white LEDs are used in applications where tungsten lights were once used as standard. Warm white LEDs are the most similar to tungsten with reliable colours and the benefi t of increased colour stability during dimming. Cold white LEDs give a colour temperature similar to the sun at high noon without shadows. At every application where natural light is involved cold LEDs can be used, while all major European opera houses enjoy the daylight look of HMI and cold LEDs. The desired realistic look of big stages is diffi cult to realise with tungsten light because of the lack of blue and the poor light output. I was working at an opera house when the big HMI-fresnel’s were introduced - a revolution in lighting standards available at that time.
How does Elation tailor its lighting fi xtures to cater specifi cally to the TV lighting market? Close binning, no noise, high CRI, extremely even beams and smooth dimming, but then this has been the need of every professional user for centuries, not just in TV lighting.
What steps is Elation taking to improve effi cient discharge technology? In the entertainment business discharge is still
www.mondodr.com
elemental, because making spots or beam lights on exact defi ned high brightness levels or creating beam angles under 5° is not yet possible in LED technology. We are very happy that the ADJ Group and Philips made the experience called platinum technology, integrating the lamp into the refl ector, thereby creating a small spot where all gas and metal is ignited. The technology is perfect for spot and beam fi xtures. As a result we can offer platinum Pro 15 Spots 290W as bright as a standard 700W with an even beam, excellent projection quality and colour mixing - with less power consumption and a lamp life up to 3,000 hours. In the white LED sector these advantages are even more distinctive. A 100W LED easily replaces 1K tungsten.
What are you predictions for the lighting industry over the next fi ve years? More effi ciency in terms of output, less weight, more competition, the death of tungsten in new fi xed installations and the replacement of DMX 512.
Tell us something about yourself that people might not know? I have a life-long passion for theatre and music and in my spare time I am a dedicated puppet player with my own small puppet theatre, where I work as drama inventor, stage builder, lighting designer, narrator, player, sound mixer and anything else needed.
Page 1 |
Page 2 |
Page 3 |
Page 4 |
Page 5 |
Page 6 |
Page 7 |
Page 8 |
Page 9 |
Page 10 |
Page 11 |
Page 12 |
Page 13 |
Page 14 |
Page 15 |
Page 16 |
Page 17 |
Page 18 |
Page 19 |
Page 20 |
Page 21 |
Page 22 |
Page 23 |
Page 24 |
Page 25 |
Page 26 |
Page 27 |
Page 28 |
Page 29 |
Page 30 |
Page 31 |
Page 32 |
Page 33 |
Page 34 |
Page 35 |
Page 36 |
Page 37 |
Page 38 |
Page 39 |
Page 40 |
Page 41 |
Page 42 |
Page 43 |
Page 44 |
Page 45 |
Page 46 |
Page 47 |
Page 48 |
Page 49 |
Page 50 |
Page 51 |
Page 52 |
Page 53 |
Page 54 |
Page 55 |
Page 56 |
Page 57 |
Page 58 |
Page 59 |
Page 60 |
Page 61 |
Page 62 |
Page 63 |
Page 64 |
Page 65 |
Page 66 |
Page 67 |
Page 68 |
Page 69 |
Page 70 |
Page 71 |
Page 72 |
Page 73 |
Page 74 |
Page 75 |
Page 76 |
Page 77 |
Page 78 |
Page 79 |
Page 80 |
Page 81 |
Page 82 |
Page 83 |
Page 84 |
Page 85 |
Page 86 |
Page 87 |
Page 88 |
Page 89 |
Page 90 |
Page 91 |
Page 92 |
Page 93 |
Page 94 |
Page 95 |
Page 96 |
Page 97 |
Page 98 |
Page 99 |
Page 100 |
Page 101 |
Page 102 |
Page 103 |
Page 104 |
Page 105 |
Page 106 |
Page 107 |
Page 108 |
Page 109 |
Page 110 |
Page 111 |
Page 112 |
Page 113 |
Page 114 |
Page 115 |
Page 116 |
Page 117 |
Page 118 |
Page 119 |
Page 120 |
Page 121 |
Page 122 |
Page 123 |
Page 124